Hosting two superdivas within little over a month is probably unique in the history of Hamer Hall. It may have been a little tough on the budget, but it was a rare opportunity for many locals to experience the radiance of two stars unfiltered by some form of electronics. In the case of Angela Gheorghiu it was the only opportunity so far.
Both Angela Gheorghiu and Renée Fleming have been heavily promoted over the years for their glamour and beauty, which, especially in the case of the famous Romanian diva, has sometimes tended to overshadow extraordinary vocal, musical and dramatic gifts. For some devotees of the soprano voice, this emphasis on glamour can be alienating; however, anybody who has seen Gheorghiu’s Violetta, either on stage (lucky them!) or in Covent Garden’s filmed La Traviata, will know that behind the glamorous facade is a totally captivating singer actress who immerses herself in a role without artifice. She is “real” in a way that is unexpected and heart-wrenchingly poignant.
A selection of works by Handel began the concert with the unexpectedly restrained choice of “La Paix” from Music for the Royal Fireworks. This was followed by the much more celebratory “La Réjouissance”, paving the way for the entrance of the diva in softly draped palest rose chiffon and a serene “Lascia ch’io pianga” from Rinaldo. Legato phrasing, the most exquisite soft singing and tone that is smooth while possessing a unique, fascinating timbre emphasized her quality as a singer who valued refined beauty above ostentation.
Two arias by Massenet: “Adieu notre petit table” from Manon and “Pleurez mes yeux” from Le Cid were separated by the orchestral “Intermezzo” from Puccini’s Manon Lescaut. It was clear that Gheorghiu was well and truly in home territory with this repertoire and revealed why she has been described as combining the best features of Callas and Tebaldi. Long phrases, soaring high notes without any hint of strain and sumptuous tone were at the service of the passion called for in these deeply emotional arias.
Another favourite concluded the first half of the program as she sang in Czech to the moon, with Dvorak’s popular aria embellished with some graceful harp work. At least in Rusalka’s aria it was understandable that she might have needed to refer to the words on the music stand, but it was a pity that she occasionally broke the mood of a piece by needing to consult the music. Having the music stand at an angle also meant that the audience seated to her right did not always benefit from a direct sound. Fortunately, the power and projection of her voice plus her habit of shifting focus across the auditorium meant that nobody really missed out.
There had been a change of stole during the first half of the concert, but after the orchestral “Aragonaise” from Carmen, Gheorghiu appeared in a knockout red gown. This proved to be less than ideal wear for Madama Butterfly’s “Un bel di” (it is well nigh impossible to bring off demure for even the most accomplished actress in such a flagrantly Carmen garment) but skillful, impassioned singing brought credibility. Needless to say, her “Habanera” was full of the fire and sensuality of Carmen at her most seductive.
Like Renée Fleming with the Melbourne Symphony Orchestra, Gheorghiu too was supported by an excellent orchestra that not only illuminated the selected arias, but performed the various orchestral pieces with distinction, most notably, George Enescu’s “Romanian Rhapsody” No. 1. A celebrated violinist (he taught Yehudi Menuhin) and composer, Enescu is Romania’s most important musician. With Romanian conductor Tiberiu Soare wielding the baton it was small wonder that the Australian Opera and Ballet Orchestra gave such a spirited performance. Beginning with some lovely wind playing, the folk tune was taken up by the strings and full orchestra. Graceful swinging rhythms, energetic swirling dances, exciting accelerandos and dynamic contrasts no doubt set many a pulse racing. Featured passages on violin, viola and flute added to the colour and were played with flair and beauty of tone. In fact, the full, mellow tone of the orchestra was one of the pleasures of the evening.
After the wonderful “Romanian Rhapsody”, the diva returned in a plain black gown with an extravagant quasi bustle to sing what was for many the highlight of the evening: “Vissi d’arte”. For those who missed out on seeing Maria Callas in person, it might be worth mortgaging the house to see Gheorghiu in a role so ideally suited to her artistry. The Puccini aria that followed (“Sola perduta, abbandonata”, from Puccini’s Manon Lescaut) allowed her to give full rein to the soaring climaxes of dramatic intensity in which she excels.
“I could have danced all night” had been threatened, but the diva yielded to a very vocal audience of Romanian fans to alter her program. While she did include the inevitable encore favourite of “O Mio Babbino Caro”, she apologized to the orchestra for singing an unscheduled “a cappella” encore of a Romanian song. Many of us could not have been happier with this change of plan. Despite the excellence of the orchestra, it was sheer joy to hear that fabulous voice alone and in full, unadorned glory.
Possibly, it was fitting that the evening should end with an orchestral accompaniment for “Granada” – stirring music with plenty of pizzazz from the diva. To a standing ovation, she led Concertmaster Jun Yi Ma off the stage as she waved her adoring fans a final goodbye.
